Le film, miroir sans tain de la société dogon ?

• Main Author: Wanono Gauthier, Nadine
• Other Authors: Centre d'Etudes des Mondes Africains (CEMAf), Université Paris 1 Panthéon-Sorbonne (UP1)-Université de Provence - Aix-Marseille 1-École Pratique des Hautes Études (EPHE), Université Paris Sciences et Lettres (PSL)-Université Paris Sciences et Lettres (PSL)-Centre National de la Recherche Scientifique (CNRS)
• Format: Article in Journal/Newspaper
• Language: French
• Published: HAL CCSD 2001
• Subjects: Visual Anthropology; Cross look; tourism; cinéma; Anthropologie visuelle; dogon; tourisme; [SHS.ANTHRO-SE]Humanities and Social Sciences/Social Anthropology and ethnology; inuits
• Online Access: https://shs.hal.science/halshs-00109598; https://shs.hal.science/halshs-00109598/document; https://shs.hal.science/halshs-00109598/file/film_miroir_Hal.pdf

International audience 1978 is the year the idea of organizing “Regards Comparés” was born. The issue was to show the evolution of how society is represented in ethnologist films, journalist films or explorer films1. Through the screening of many movies between 1978 and 1988, ethnologists and filmmakers thus rediscovered, the Bushmen of the Kalahari, the Yanomami Indians, the Dogons of the Bandiagara Cliff, the Inuits, or the various populations of New-Guinea. The originality of these events lies in bringing different outlooks to bear upon the same society. The stylistic evolution of the movies and the diverse origins of documents made it possible to grasp the gradual transformation of both the ethnologist and society. The Committee of Ethnographic Film Media proposed collaborating with the CNRS Images/Média to organize in 2000 a second “Regards Comparés” on the Dogons, in tribute to Germaine Dieterlen who passed away a year before. From the filmography established in 19982, comprising over sixty titles, a selection was established by Laurent Pellé and myself. A partir de l'analyse de l'organisation de la manifestation et des films projetés lors du deuxième Regards Comparés consacré au dogon nous réalisons combien les choix de mises en scènes révélent les modes de représentation de notre propre société. Quel rôle l'image a-t-elle joué dans la formation des stéréotypes liés à la société dogon ?